EVITA
A film review by Laura & Robin Clifford
Copyright 1997 Laura & Robin Clifford
(This review is an excerpt from Reeling, a movie review show hosted by Laura and Robin Clifford, running on Boston Cable TV. Note that the film descriptions vary in completeness due to the fact that they're actually intros for running film clips.)
EVITA -----
is the long awaited movie version of the 70's Andrew Lloyd Webber musical starring Madonna as Eva Peron, a small time actress who slept her way to the top by finally seducing Juan Peron, the dictator of Argentina, played here by British star of stage and screen, Jonathan Pryce. Once established as Argentina's first lady, Eva Peron became a self-serving champion of the downtrodden masses before succumbing to cancer at the age of 33.
Directed by Alan Parker, "Evita" is narrated by Antonio Banderas as cynical everyman Che.
ROBIN:
"Evita", the movie, has been a long time coming to the big screen, and has made its journey amidst much controversy, especially the one in casting Madonna as Eva Peron.
Well, after years in the making, "Evita" has finally made it and it is not shabby!
Alan Parker brings us a lavish screen production of the 1979 stage play, with brilliant costume (88 costume changes for Madonna), art direction, photography and music.
The music is mostly effective, keeping the songs in sync with the period feel of the film. A couple of electric rock numbers are out of place with the period and would have best been dropped. Two of the numbers - "Look Out, Buenos Aires", a flashy and colorful piece, and, what Laura calls "So Sad When A Love Affair Dies", which chronicles Eva's efforts to sleep her way to the top - are good examples of how the music fits the film.
Madonna, as Eva Peron, does a first rate job with the songs, but isnt an experienced enough actor to use non-lyric expressions to convey emotions. It makes me wonder what would have happened if Meryll Streep, a much more accomplished actor, were cast as Eva. Madonna is not that impressive as an actor, despite her entreaties for Academy recognition.
Antonio Banderas, on the other hand, impressed the hell out of me. He has a natural singing voice, with a slight gravelly quality, that lends to his role as the everyman narrator, Che. His presence as both actor and character help to make him the best thing in "Evita".
Jonathan Pryce, as Juan Peron, does not really have much to do but be a figurehead character. His singing is fine.
My problem with the film, and the thing that hampers it from being better, is that there is little attempt to educate the viewer about the Argentine politics of the period and Eva's place in that world. There's more shadow than substance to the story. Mainly, the film tells me that Eva Peron was little more than a conniving opportunist - not the image I would expect the filmmakers want to put forth.
A particularly favorite lyric from one of the film's songs, which sums up Eva Peron, is "The people, they need to adore me. So, Christian Dior me." It gave me a hearty chuckle.
I think its funny that I rate "Evita" the same as I do "Beavis and Butt-head Do America". I give "Evita" a B.
LAURA:
Alan Parker has co-produced, co-written (with Oliver Stone) and directed a lavish musical film version of the smash stage musical "Evita." The 15 history of this coming to the screen approaches the story of the casting for "Gone With the Wind," with the likes of Meryl Streep vying for the role of Evita and directors such as Ken Russell, Francis Coppola, Michael Cimino and Oliver Stone attached to the project. Parker ignored the play's screenplay and went back to the original concept album's score and lyrics (which preceded the actual stage production) along with historical research in order to write his film's screenplay.
The film looks great. It was shot on location in Argentina, England and Hungary. The "Don't Cry for Me, Argentina" scene was filmed at the actual balcony of the Casa Rosada, where Eva Peron addressed the people. The art direction and costume very successfully evoke the 1920s and 1940s periods that the film takes place during. Cinematographer Darius Khondji ("Seven," "Delicatessen," "The City of Lost Children") also lends an appropriate period glow to the film.
"Evita" is told entirely by musical numbers (with the exception of a very few spoken lines by minor characters). Madonna (who passionately fought for this role) does a fine job - at times I even forgot it was Madonna I was watching, although not entirely. She's publically stated that she expects an Oscar nomination for this role. While she's good (surprisingly so in a few scenes, such as her death bed scene), I don't think she's quite up to the competition this year.
The big surprise for me is Antonio Banderas as Che - he sings with conviction and provides many of the film's laughs with his sly asides and wry commentary. Jonathan Pryce (English stage and screen star and Lexus pitchman) doesn't fair as well as Juan Peron - his character is never fully realized and I never understood his motivations. At one point in the film, we're given the indication that by the time he marries Eva, the romance has been entirely replaced by politics. Later, he stands up for her against political adversaries. How did he feel about her? This film remains vague on that subject.
There are some terrific musical numbers, smartly choreographed. A lot of history is covered as Eva begins sleeping her way to the top, dumping each lover with the refrain "isn't it sad when a love affair dies" while Che steps in and informs the dumpee that he's been had in particularly colorful ways. The seduction duet between Madonna and Jonathan Pryce ("I Could Be Good for You") is very effective and one of Pryce's best scenes. The rousing "New Argentina," a number which was cut from the stage production, attempts to fill in some of the political history of the time. As Madonna remakes herself as the first lady she sings "the people adore me, so Christian Dior me!" as we're presented with a montage of costume and makeup tryouts. There's also a nice fantasy sequence where Madonna tangos with Banderas as she counters his everyman's accusations of how she's ultimately let her people down.
"Evita" isn't entirely successful, however. It's opening sequence, where we're presented with Eva's funeral cut back and forth with the 7-year old Eva attempting to attend her father's funeral (she was illegitimate and refused entry) is a bit confused. The film also gets very repititve in its last half hour - a judicious trimming of 10-15 minutes would have tightened the film considerably. The film also fails in its depth. As I already mentioned, Juan Peron isn't well fleshed out and we're never entirely sure of Eva's sincerity either - the filmmakers show both angles but never attempt to come to a conclusion.
B
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